Penny Cain super-imposed suited office workers following a perpetual paper-trail up the side of a building façade, reflecting on the pitfalls of modern capitalism.
Danielle Coonan adopts the kitsch vista of falling waterfalls favoured in the moving displays of many Asian restaurants. The artist is seen frolicking in the water of this perfected scene, a light-hearted animation which inserts a human element into a traditionally deserted utopia.
Daniel Crooks ‘sliced time’ in a work which documents a simple journey. Motion becomes staggered in ribbons, drawing our attention to the beautiful in the mundane.
Brian Doyle documented the deserted New York streets after a sporting event in New York where ticker tape was strewn across the city. The detritus and white-noise creates a disturbing post-apocalyptic vision of an imagined aftermath.
Michael Johansson secretly documents an obscure European mattress shop owner going about her daily rituals. In this quiet but beguiling tale, we see the strange futility of our routines through this woman’s perpetual cohabitation with commerce.
Luke Lamborn plays with ‘chaos and complexity theory’ interweaving a parade of cars which continually alter in colour; geese which are perpetually frozen in the sky; and other man-made miracles of his creation.
Jess MacNeil depicts the iconic Opera House Steps as a series of shadows. The humans moving across them have been erased and all that remains are the abstract trace elements of their movement.
Susan Norrie presented two works, the strange perpetually turning Ferris Wheel, from which passengers seem to never leave and Black Wind, a pertinent reminder of indigenous presence alongside Australian politics.
Alex Pearl creates beautiful and whimsical homespun contraptions which are documented and choreographed to form mini narratives and dances. His inventions often have a camera attached, creating multiple perspectives as the camera hops and glides upon these unlikely protégés.
Khaled Sabsabi showed a subtle but arresting work, Ali or Eli in which the sun is shown setting in Sydney and rising in Lebanon. The introduction of these horizons to the heart of the CBD highlights the political and geographical tensions at play.
Emma White presented two works, the Erotic and Romantic Alphabets which explores the unexpected nuances of language and communication and Blackbox in which a series of mobile phones are treated like still-lives that begin to disappear before our eyes, a playful poke at the fickle love-affair we all maintain with technology.
Justene Williams presented Blue Foto, Green Foto, Red Foto an arresting performative series of videos showing the artist in various guises, centring around the idea of a ‘narcissistic automaton’. By depicting herself in a never ending self-reflexive cycle, this work explores ideas of beauty and representation.